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Methods are often very specific regarding the types of skills that are taught, the order in which they are taught, and what activities are most helpful in developing music-reading skills. In the United States, it is rare to see a secondary teacher who is completely devoted to a single method. More often choral teachers in this country adopt a particular system and then make decisions about content and sequence using that system, thus creating their own method. '" However, systems carry with them no information on how to sequence instruction or content; they are merely tools designed to help clarify musical relationships for the learner.
The best hope for the success of the standards lies in implementing a clear system of assessments so that teachers will be able to evaluate the effectiveness of their instruction and their pupils' progress. CONCLUSION It is difficult when discussing recent events to identify particular ideas or moments as important or influential. It would appear that interest in teaching sight-singing is on the rise based on 1) the number of published materials available for teaching, 2) the increased inclusion of sight-singing in state contests and festivals, and 3) the greater focus on assessment and standards.
Another difficulty with using numbers to designate pitch relationships is that numbers also can be used to designate counts in rhythm. Thus students are using the same set of syllables but with very different meanings and combinations, which could be confusing. Hand Signs Hand signs (fig. 4) are not really a separate system but more of a supplemental aid to reading. They were first designed by Curwen and Glover to be used with Tonic Sol-fa and later modified by Zoltan Kodaly. Using hand signs to represent solfege syllables offers the teacher several advantages.